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National Brow Day isn’t just a celebration for all brows whether they’re thick, thin, fluffy or tattooed on. This year, the celebration takes place on Wednesday (Oct. 2) and just like National Mascara Day, gives your favorite makeup brands an excuse to slash prices on popular brow products.

For today only, you can score up to 50% off everything from brow gels, pencils, markers and even tweezers to step up your brow game without blowing your budget. This includes luxury brands like Benefit Cosmetics whose brow products have gone viral on TikTok. Rather thank wait for Prime Day or Black Friday, you can pickup a brow pencil for the beauty lover in your life as well as yourself for just the cost of a single product.

You don’t want to wait too long though as the most talked about brow products are already selling out — and since the sale is only going on for 24 hours, you only have today to get up to half off.

Brow trends aren’t going anywhere and you’ll find that a majority of eyebrow tools provide multipurpose capabilities that can adjust to ever-changing trends. You don’t have to scour the Internet yourself though to stock up on makeup, keep reading to learn more.

What Are the Best National Brow Day Deals?

To help you score the deepest discounts, ShopBillboard rounded up the best national brow day deals below for you to stock up on.

For more product recommendations, check out ShopBillboard‘s roundups of the best travel-friendly beauty products, travel makeup bags and freckle pens.

Now that Pink Floyd has finally managed to sell its recorded music assets, merchandising and name, image and likeness, the songwriting members of the group have another big payday still outstanding — its music publishing assets.

Sony has bought some of Pink Floyd’s music assets for about $400 million, sources confirm of the news that first appeared in the Financial Times. But sources also confirm that the band’s music publishing assets were not a part of the deal.

Nevertheless, the Pink Floyd sale was a long time coming, as the group started shopping its recorded music assets about two years ago. For a while, the assets were pulled off the block due to some infighting between group members, according to published reports.

As sources said at the time, the assets were shopped to all the big players — the other majors, BMG, Concord, Primary Wave and other private equity-backed music buyers — but Sony always had the inside hand on the deal given that it serves as the group’s distributor. This deal marks the third big music asset deal Sony has made in the last 12 months, having previously bought 50% of Michael Jackson’s music assets in a deal that valued them at $1.205 million; and Queen’s music assets for about $1.2 billion.

Combined, that means Sony — and any financial partners that were, or may have been, involved in the deals — has spent about $2.2 billion buying music assets in the last 12 months. In July, Apollo Global Management announced that it was the lead in pulling together $700 million in commitments to provide a “capital solution” to Sony Music Group. Back in 2021, Sony partnered with another financial partner, Eldridge Industries, when buying Bruce Springsteen’s master recordings.

Sony declined to comment. Apollo and Eldridge didn’t respond to e-mails seeking comment.

Pink Floyd’s filings in Companies House — the U.K. equivalent of the SEC database — show that for the year ended June 30, 2023, the band’s revenue totaled, as first reported by Music Business Worldwide, 40.4 million pounds (which at the 2023 average of 1.244 per pound totals $50.3 million, according to exchange-rates.org). This total combines revenue from master recording, merchandising and possibly other licensing opportunities; and also combines the two Pink Floyd corporations that appear to have been set up to oversee those assets: the original band after Syd Barrett’s departure and the group that carried on after Roger Waters’ departure.

Just looking at Pink Floyd’s recorded masters catalog over the last three years in the U.S., the band has generated an annual average of 1.135 million album consumption units from the sale of 497,000 LP, CD and digital download albums and 160,000 track downloads and almost 675 million on-demand streams. While Luminate doesn’t track global album sales, Pink Floyd’s on-demand global streams averaged 2.37 billion over the last three years. Consequently, if the group owns all of its publishing, Billboard estimates that the band’s recorded masters bring in about $11 million in publishing royalties annually. If the band sells and can achieve a 20-times multiple — the going rate for superstar songwriters — it could bring in another $200 million-plus for the band’s songwriters. In general, music publishing asset trade at a higher multiple than recorded music assets, although the latter is catching up on that front.

An e-mail to the manager of one of the band members didn’t receive a reply by press time.

Sony’s acquisition of Pink Floyd’s name, image and likeness is good for merchandising. But if any opportunities arise for film, TV or a theatrical production — and there likely will be considering that since 1991 the band’s fanbase has consumed nearly 51 million album consumption units in the U.S. alone — Sony would need, as its executives well know, licenses from the Pink Floyd publishers and/or administrators, which in the U.S., according to SongView and depending on the song, consist of TRO Essex Music Group, BMG and Concord.

Hoshimachi Suisei surprised passersby in Shibuya, Tokyo on Monday (Sept. 30) by appearing unannounced at Udagawa Crank Street in Center Gai for a compact set promoting her upcoming new single.

With over 2.4 million subscribers on her channel, Hoshimachi Suisei is a virtual YouTuber affiliated with hololive, home of many popular VTubers including Usada Pekora and Houshou Marine. In Jan. 2023 she made headlines by becoming the first VTuber to perform on THE FIRST TAKE, a popular YouTube channel featuring one-take live performances by famous artists. That same year, she dropped her second album, Specter, which was produced by a team of cutting-edge creators including Ayase, Tomoya Tabuchi, Tatsuya Kitani, and Nanahoshi Orchestra (aka Takashi Iwami) and reached No. 10 on the 2023 year-end Billboard Japan Download Albums chart.

Hoshimachi’s surprise Shibuya performance follows her recent sudden revelation of plans for her first-ever concert tour through a livestream on her channel and the Shinjuku Alta Vision. The virtual star kicked off her mini-set with “BIBBIDIBA,” her latest viral hit, and followed up with “Stellar Stellar,” the track she chose for her THE FIRST TAKE performance. She then premiered a new song called “Moonlight,” written by the sought-after music producer Natori, and announced that the accompanying music video would be released after the show and that the new track would drop the following day (Oct. 1) on digital platforms. She then responded to calls for an encore from the crowd that had gathered and performed “Starry Jet” from her first album Still Still Stellar to wrap up her first-ever street gig.

Hoshimachi Suisei is set to appear on the TBS program CDTV Live! Live! on Monday, Oct. 7 to perform “BIBBIDIBA” and “Moonlight” on TV for the first time.

For Ezra Collective, things rarely go according to plan. At the start of “Ajala,” the vibrant highlight of new album Dance, No One’s Watching, drummer Femi Koleoso jokingly calls out a crowd who didn’t quite get the memo to clap along. When the London jazz group collected the U.K.’s Mercury Prize in 2023 for their album Where I’m Meant To Be, they collapsed in a heap on the ground, shocked at the news. 

Therein lies the appeal of their group’s emotionally charged hits: it’s OK to be caught off-guard. “The dancefloor can be a reflection of life,” Koleoso tells Billboard just hours ahead of its release on Partisan Records last week (Sept. 27). “Life’s not meant to be perfect, it’s meant to be honest. You can’t have a perfect life because so much of life is not in your control, but you can be honest about every situation you go through and try and weather the storm in a genuine way… that’s what all of the record is about.”

Long a leader in the U.K.’s storied jazz scene, their new album looks set to take them to new heights. Dance, No One’s Watching could see the band’s first top 10 entry on the U.K.’s Official Album Chart. Later this year, they head to Wembley Arena for their biggest ever show and one of the jazz scene’s largest headline shows in the capital.

Made up of Koleoso, brother TJ (bass), Joe Armon-Jones (synths), Ife Ogunjobi (trumpet) and James Mollison (saxophone), Ezra Collective fuse elements of jazz, highlife, Afrobeats, hip-hop and more in their varied songs. Since meeting at a youth club focused on musicianship and jazz in their native London, the band have released three albums and collaborated with Loyle Carner, Jorja Smith, Kojey Radical and rising U.K. pop star Olivia Dean (the latter guests on new song “No One’s Watching Me”).

They’re one of many venerable independent jazz acts in the U.K. releasing consistently and meeting growing audiences. Last month saxophonist Nubya Garcia released her second studio album Odyssey, as did Nala Sinephro with the gorgeous Endlessness. It’s a scene with Ezra Collective at its core, and one that continues to flourish.

Koleoso discusses his contemporaries, why he wants to retain the giddiness of releasing music and how The Beatles and Fela Kuti inspired their new record.

How are you feeling about the release of the album? 

Just so happy. It’s the best part of the journey. My technique is that once the masters approved I won’t listen to the album again until it’s released. Honestly, I’ve forgotten most of it! So when midnight strikes I will open Spotify and listen to it like everyone else. And that helps my excitement levels match everyone else’s.

We’ve been doing it a little while now – 12 years as Ezra Collective – and I’ve been playing music for most of my life, but I’ve still got quite a juvenile innocence and get bare excited when I see my name on Spotify. Once you lose that excitement you’re done, you know?

How does this record compare to what you’ve done previously?

The most recent record [2022’s] Where I’m Meant To Be was very much a documentation of our lockdown and Dance, No One’s Watching is the documentation of being let out again. It was looking at the dancefloor on the Ezra Collective world tour and then writing a narrative for them. So the feeling was a lot of freedom and excitement to be outside again.

What were those gigs like for you?

It was wonderful. You could feel the anticipation of people turning up to Ezra Collective gigs like “I am here to have a good night.” I could feel it. People would come with a smile on their face and a pair of leggings and beat-up trainers, and I could look at them like “you’re here to dance.” People in baggy t-shirts and a pair of jeans and I’m thinking, “Yeah, you didn’t even bring a jacket and it’s November, you are here to dance.” I’m so grateful for that and we ended up mirroring that energy up on stage. 

How did you end up recording the album at Abbey Road Studios?

We felt if we were going to make a record documenting the dancefloor the only way for it to sound authentic was for it to have people dancing while we made it, and we needed a studio that had the space. It was never meant to be a live album but it was meant to feel live but sound like a studio record. So we needed people in the room dancing and vibing, but at the same time we needed the equipment to record every instrument’s detail at the highest level and that was the place where it was made the most possible.

That must have provided a unique challenge…

Yeah, but if you look back, other people have also done that. The Beatles did something similar with when they recorded Let It Be; they played the gig on the rooftop, and the recording of some songs from the roof concert made the album. It was the same with J.J.D. by Fela Kuti – it just sounds both deep in quality, but occasionally you hear someone scream. We were taking big inspirations from those types of albums in how we approached it. I’m really proud of how it’s come and you can feel the live elements in the album, but it seems on the sound system like a studio record.

It’s such a beautiful space, but what’s important about Abbey Road is that it’s not reserved to those who can afford it. It has to be for the music of today. You need Nia Archives, Loyle Carner and Dave and the band that are still in sixth form that you’ve never heard of. It needs to be a space that musicians aren’t intimidated by as that’s where you’ll get the best art.

Our first ever EP Chapter 7 was actually recorded at Abbey Road, but we only got in because an engineer snuck us in in the middle of the night and told us “you’ve got one hour before they kick you out” and we just played the songs once and that was it. This time it was nice to have permission to be there.

You won the Mercury Prize in 2023, a shock evident to yourself and the band. What was that moment like?

It was a crazy moment. It couldn’t have gone better. Because we were just excited about the nomination! But we’d honestly not even thought about winning. I told everyone to compose themselves and when they say someone else’s name, don’t be all upset about it. So when they said our name it was pure shock. That’s why we ended up on the floor. It was an unexpectedly beautiful moment. But it was a moment and then it’s back to normal the next day, you know? Which I’m grateful for.

The name Ezra Collective was a bit more recognizable after that moment. I think most of the U.K. music industry was aware of the band if they weren’t beforehand, but in terms of the band, I feel exactly the same as I did when we were in school and just started out. It was just me and my friends making songs and I was just grateful for every ounce of attention they got.

Olivia Dean provides vocals on the wonderful “No One’s Watching Me.” What was that session like?

She is so beautifully talented. It’s the perfect kind of session. She came into the studio and we just spoke about life, about how she was, and I asked her to tell me a bit about what dancing meant to her, and she was attracted to the idea that no one’s watching so just move and get on with it. So we discussed that and she was in the booth on her own with a pen and paper and after a couple of hours she said she was ready to record. 

I pressed the red button and this wonderful sound and most beautiful voice came out of her. And I remember instantly after she finished I was like “yeah, you can go home.” Like she didn’t need to add anything, it was so perfect. I think she was shocked at how quickly and easily she wanted to move on but I knew that perfection had been captured immediately.

We recently spoke to Gilles Peterson who featured you on the compilation We Out Here in 2018 alongside your contemporaries like Nubya Garcia, Moses Boyd and more. He discussed the fact that your scene knows the value of the community you’re creating that an outsider cannot replicate. Does that ring true to you?

Yeah that rings true. The word community and collective is more important than the name. It’s about how you’re investing into the community and people around you. That’s what the Ezra is all about, and that’s why I’m so proud to be considered a part of the U.K. jazz scene because it’s such a beautiful community.

Later this year you’re headlining Wembley Arena. How are you feeling about it?

I feel great! What a crazy thing to be doing, but I couldn’t be more excited. The game plan is the same it’s always been. There’s not an ounce of nerves. I’m sure on the day there might be a wobble but right now I’m feeling really great. 

Was there any hesitation in leveling up to a venue like that?

Nah… we knew we’d be fine [laughs]. The moment we played outside of a pub full of my friends and my family and there were people we didn’t know, that was when we knew we could do anything. It’s the same feeling when we did Ronnie Scott’s, Islington Assembly Hall, the Roundhouse, Hammersmith Apollo, Royal Albert Hall, it’s all the same feeling: it’s like, “Wow, if we can do that then we can do this.” So that’s the energy we’re walking into it with.